{"id":4302,"date":"2018-11-22T14:47:48","date_gmt":"2018-11-22T14:47:48","guid":{"rendered":"https:\/\/www.novonon.com\/blog\/2018\/11\/22\/how-extreme-weather-is-shrinking-the-planet-the-new-yorker\/"},"modified":"2018-11-22T14:47:48","modified_gmt":"2018-11-22T14:47:48","slug":"how-extreme-weather-is-shrinking-the-planet-the-new-yorker","status":"publish","type":"post","link":"https:\/\/www.novonon.com\/blog\/2018\/11\/22\/how-extreme-weather-is-shrinking-the-planet-the-new-yorker\/","title":{"rendered":"How Extreme Weather Is Shrinking the Planet | The New Yorker"},"content":{"rendered":"<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-4300 size-full\" src=\"https:\/\/i0.wp.com\/www.novonon.com\/blog\/wp-content\/uploads\/2018\/11\/181126_r33282.jpg?resize=625%2C417&#038;ssl=1\" width=\"625\" height=\"417\" srcset=\"https:\/\/i0.wp.com\/www.novonon.com\/blog\/wp-content\/uploads\/2018\/11\/181126_r33282.jpg?w=727&amp;ssl=1 727w, https:\/\/i0.wp.com\/www.novonon.com\/blog\/wp-content\/uploads\/2018\/11\/181126_r33282.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.novonon.com\/blog\/wp-content\/uploads\/2018\/11\/181126_r33282.jpg?resize=624%2C416&amp;ssl=1 624w\" sizes=\"auto, (max-width: 625px) 100vw, 625px\" \/><\/p>\n<blockquote>\n<p style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:rgb(0,0,0); font-family:\" adobecaslongeorgiatimesnewromantimesserif=\"adobecaslongeorgiatimesnewromantimesserif\" _20px=\"font-size:_20px\" normal=\"white-space:normal\" _400=\"font-weight:_400\" _2text-indent0px=\"orphans:_2text-indent0px\" none=\"text-transform:none\" _2=\"widows:_2\" _0px=\"_-webkit-text-stroke-width:_0px\" initial=\"text-decoration-color:initial\" left=\"text-align:left\">A<\/p>\n<p style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:rgb(0,0,0); font-family:\" adobecaslon\",georgia,\"timesnewroman\",times,serif; font-size:20px; font-style:normal; font-variant-ligatures:normal; font-variant-caps:normal; font-weight:400; letter-spacing:normal; orphans:2text-indent:0px; text-transform:none; white-space:normal; widows:2; word-spacing:0px; -webkit-text-stroke-width:0px; text-decoration-style:initial; text-decoration-color:initial; text-align:left;\">As journalists at InsideClimate News and the Los Angeles<span> <\/span><i class=\"\" style=\"box-sizing: inherit;\">Times<\/i>have revealed since 2015, Exxon, the world\u2019s largest oil company, understood that its product was contributing to climate change a decade before Hansen testified. In July, 1977, James F. Black, one of Exxon\u2019s senior scientists, addressed many of the company\u2019s top leaders in New York, explaining the earliest research on the greenhouse effect. \u201cThere is general scientific agreement that the most likely manner in which mankind is influencing the global climate is through carbon-dioxide release from the burning of fossil fuels,\u201d he said, according to a written version of the speech which was later recorded, and which was obtained by InsideClimate News. In<span> <\/span>1978, speaking to the company\u2019s executives, Black estimated that a doubling of the carbon-dioxide concentration in the atmosphere would increase average global temperatures by between two and three degrees Celsius (5.4 degrees Fahrenheit), and as much as ten degrees Celsius (eighteen degrees Fahrenheit) at the poles.<\/p>\n<div class=\"recircCarouselUnit RecirculationCarousel__carousel___3oV_x\" id=\"RecircCarousel\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; border-bottom:1pxsolidrgb(229,229,229); border-top:1pxsolidrgb(229,229,229); margin:40px0px; padding:30px0px20px; color:rgb(0,0,0); font-family:\" adobecaslon\",georgia,\"timesnewroman\",times,serif; font-size:20px; font-style:normal; font-variant-ligatures:normal; font-variant-caps:normal; font-weight:400; letter-spacing:normal; orphans:2text-indent:0px; text-transform:none; white-space:normal; widows:2; word-spacing:0px; -webkit-text-stroke-width:0px; text-decoration-style:initial; text-decoration-color:initial; text-align:left;\">\n<p class=\"RecirculationCarousel__hedPre___ejDzX\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:rgb(0,0,0); font-family:\" irvintext\",georgia,\"timesnewroman\",times,serif; font-size:11px; line-height:1; margin:0px0px8pxvertical-align:text-bottom; text-align:center;\">MORE FROM THIS ISSUE<\/p>\n<p class=\"RecirculationCarousel__hed___3RfXw\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:rgb(0,0,0); font-family:\" irvinheading\",\"helveticaneue\",helvetica,arial,sans-serif; font-size:21px; font-weight:400; line-height:28px; margin:0pxauto25pxwidth:504.891px; text-align:center;\"><a class=\"recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; 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text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"Image__image___1PhYl RecirculationCarouselCard__image___ovCRn\" role=\"button\" tabindex=\"0\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; margin:0px0px20px;\">\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/on-and-off-the-avenue\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">On and Off the Avenue<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/learning-to-love-robots\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Learning to Love Robots<\/a><\/p>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Patricia Marx\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/patricia-marx\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Patricia Marx<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"component-lazy loaded\" data-component=\"Lazy\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\"><picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_240,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_480,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_210,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_420,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_200,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_400,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of woman from The Favourite\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4%3A3\/w_200%2Cc_limit\/181126_r33292.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<\/div>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/the-current-cinema\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">The Current Cinema<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/glamour-wit-and-cunning-in-the-favourite\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Glamour, Wit, and Cunning in \u201cThe Favourite\u201d<\/a><\/p>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Anthony Lane\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Anthony Lane<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Backstory<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Rosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; Murmurs<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Explaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"Image__image___1PhYl RecirculationCarouselCard__image___ovCRn\" role=\"button\" tabindex=\"0\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; margin:0px0px20px;\">\n<div class=\"component-lazy loaded\" data-component=\"Lazy\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\"><picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_240,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_480,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_210,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_420,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_200,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_400,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of woman from The Favourite\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4%3A3\/w_200%2Cc_limit\/181126_r33292.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<\/div>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/the-current-cinema\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">The Current Cinema<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/glamour-wit-and-cunning-in-the-favourite\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Glamour, Wit, and Cunning in \u201cThe Favourite\u201d<\/a><\/p>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Anthony Lane\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Anthony Lane<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Backstory<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Rosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; Murmurs<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Explaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"RecirculationCarouselCard__container___1tDkL\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; flex:00200px; height:318px; margin-right:15px;\">\n<div class=\"ArticleContributors__byline___3-luq\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:inherit; font-family:\" neutraface\",\"helveticaneue\",helvetica,arial,sans-serif; font-size:15px; font-weight:300; line-height:1.2; display:inline-block;\">\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Backstory<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Rosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; Murmurs<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Explaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Backstory<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Rosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; Murmurs<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Explaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"RecirculationCarouselCard__container___1tDkL\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; flex:00200px; height:318px; margin-right:15px;\">\n<div class=\"ArticleContributors__byline___3-luq\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:inherit; font-family:\" neutraface\",\"helveticaneue\",helvetica,arial,sans-serif; font-size:15px; font-weight:300; line-height:1.2; display:inline-block;\">\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<\/div>\n<\/div>\n<div class=\"Image__image___1PhYl RecirculationCarouselCard__image___ovCRn\" role=\"button\" tabindex=\"0\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; margin:0px0px20px;\">\n<div class=\"component-lazy loaded\" data-component=\"Lazy\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\"><picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_240,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_480,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_210,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_420,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_200,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_400,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Two hands are shown on a back.\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4%3A3\/w_200%2Cc_limit\/181126_r33283web.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<\/div>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/fiction\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Fiction<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/the-frog-king\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">\u201cThe Frog King\u201d<\/a><\/p>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Garth Greenwell\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/garth-greenwell\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Garth Greenwell<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_240,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_480,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_210,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_420,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_200,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_400,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration by Jorge Colombo\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4%3A3\/w_200%2Cc_limit\/181126_r33261.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/bar-tab\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Bar Tab<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/strong-cocktails-and-reflections-at-windmill\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Strong Cocktails and Reflections at Windmill<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Elizabeth Barber\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/elizabeth-barber\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Elizabeth Barber<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_240,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_480,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_210,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_420,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_200,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_400,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration by Jorge Colombo\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4%3A3\/w_200%2Cc_limit\/181126_r33261.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/bar-tab\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Bar Tab<\/a><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/strong-cocktails-and-reflections-at-windmill\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Strong Cocktails and Reflections at Windmill<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Elizabeth Barber\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/elizabeth-barber\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Elizabeth Barber<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"RecirculationCarouselCard__container___1tDkL\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; flex:00200px; height:290px; margin-right:15px;\">\n<div class=\"ArticleContributors__byline___3-luq\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:inherit; font-family:\" neutraface\",\"helveticaneue\",helvetica,arial,sans-serif; font-size:15px; font-weight:300; line-height:1.2; display:inline-block;\">\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:rgb(0,0,0); font-family:\" adobecaslon\",georgia,\"timesnewroman\",times,serif; font-size:20px; font-style:normal; font-variant-ligatures:normal; font-variant-caps:normal; font-weight:400; letter-spacing:normal; orphans:2text-indent:0px; text-transform:none; white-space:normal; widows:2; word-spacing:0px; -webkit-text-stroke-width:0px; text-decoration-style:initial; text-decoration-color:initial; text-align:left;\">Exxon spent millions of dollars researching the problem. It outfitted an oil tanker, the Esso Atlantic, with CO<sub style=\"box-sizing: inherit; font-size: 11px; line-height: 2.73; position: relative; vertical-align: baseline; bottom: -0.25em; font-family: \" adobe caslon\", georgia, \"times new roman\", times, serif;\">2<\/sub><span> <\/span>detectors to measure how fast the oceans could absorb excess carbon, and hired mathematicians to build sophisticated climate models. By 1982, they had concluded that even the company\u2019s earlier estimates were probably too low. In a private corporate primer, they wrote that heading off global warming and \u201cpotentially catastrophic events\u201d would \u201crequire major reductions in fossil fuel combustion.\u201d<\/p>\n<p style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:rgb(0,0,0); font-family:\" adobecaslon\",georgia,\"timesnewroman\",times,serif; font-size:20px; font-style:normal; font-variant-ligatures:normal; font-variant-caps:normal; font-weight:400; letter-spacing:normal; orphans:2text-indent:0px; text-transform:none; white-space:normal; widows:2; word-spacing:0px; -webkit-text-stroke-width:0px; text-decoration-style:initial; text-decoration-color:initial; text-align:left;\">An investigation by the L.A.<span> <\/span><i class=\"\" style=\"box-sizing: inherit;\">Times<\/i><span> <\/span>revealed that Exxon executives took these warnings seriously. Ken Croasdale, a senior researcher for the company\u2019s Canadian subsidiary, led a team that investigated the positive and negative effects of warming on Exxon\u2019s Arctic operations. In 1991, he found that greenhouse gases were rising due to the burning of fossil fuels. \u201cNobody disputes this fact,\u201d he said. The following year, he wrote that \u201cglobal warming can only help lower exploration and development costs\u201d in the Beaufort Sea. Drilling season in the Arctic, he correctly predicted, would increase from two months to as many as five months. At the same time, he said, the rise in the sea level could threaten onshore infrastructure and create bigger waves that would damage offshore drilling structures. Thawing permafrost could make the earth buckle and slide under buildings and pipelines. As a result of these findings, Exxon and other major oil companies began laying plans to move into the Arctic, and started to build their new drilling platforms with higher decks, to compensate for the anticipated rises in sea level.<\/p>\n<p>s journalists at InsideClimate News and the Los Angeles<span> <\/span><i class=\"\" style=\"box-sizing: inherit;\">Times<\/i>have revealed since 2015, Exxon, the world\u2019s largest oil company, understood that its product was contributing to climate change a decade before Hansen testified. In July, 1977, James F. Black, one of Exxon\u2019s senior scientists, addressed many of the company\u2019s top leaders in New York, explaining the earliest research on the greenhouse effect. \u201cThere is general scientific agreement that the most likely manner in which mankind is influencing the global climate is through carbon-dioxide release from the burning of fossil fuels,\u201d he said, according to a written version of the speech which was later recorded, and which was obtained by InsideClimate News. In<span> <\/span>1978, speaking to the company\u2019s executives, Black estimated that a doubling of the carbon-dioxide concentration in the atmosphere would increase average global temperatures by between two and three degrees Celsius (5.4 degrees Fahrenheit), and as much as ten degrees Celsius (eighteen degrees Fahrenheit) at the poles.<\/p>\n<div class=\"recircCarouselUnit RecirculationCarousel__carousel___3oV_x\" id=\"RecircCarousel\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; border-bottom:1pxsolidrgb(229,229,229); border-top:1pxsolidrgb(229,229,229); margin:40px0px; padding:30px0px20px; color:rgb(0,0,0); font-family:\" adobecaslongeorgiatimesnewromantimesserif=\"adobecaslongeorgiatimesnewromantimesserif\" _20px=\"font-size:_20px\" normal=\"white-space:normal\" _400=\"font-weight:_400\" _2text-indent0px=\"orphans:_2text-indent0px\" none=\"text-transform:none\" _2=\"widows:_2\" _0px=\"_-webkit-text-stroke-width:_0px\" initial=\"text-decoration-color:initial\" left=\"text-align:left\">\n<p class=\"RecirculationCarousel__hedPre___ejDzX\" style=\"box-sizing:inherit; 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border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/learning-to-love-robots\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">On and Off the AvenueLearning to Love Robots<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Patricia Marx\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/patricia-marx\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Patricia Marx<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_240,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_480,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_210,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_420,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_200,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_400,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of woman from The Favourite\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4%3A3\/w_200%2Cc_limit\/181126_r33292.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/the-current-cinema\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">The Current CinemaGlamour, Wit, and Cunning in \u201cThe Favourite\u201d<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Anthony Lane\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Anthony Lane<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/learning-to-love-robots\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">On and Off the AvenueLearning to Love Robots<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Patricia Marx\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/patricia-marx\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Patricia Marx<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_240,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_480,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_210,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_420,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_200,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_400,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of woman from The Favourite\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4%3A3\/w_200%2Cc_limit\/181126_r33292.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/the-current-cinema\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">The Current CinemaGlamour, Wit, and Cunning in \u201cThe Favourite\u201d<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Anthony Lane\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Anthony Lane<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"slick-track\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; height:318px; position:relative; left:0px; top:0px; display:flex; margin-left:auto; margin-right:auto; align-items:flex-start; transform:translate3d(0px,0px,0px); opacity:1; width:2244px;\">\n<div class=\"RecirculationCarouselCard__container___1tDkL\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; flex:00200px; height:290px; margin-right:15px;\">\n<div class=\"Image__image___1PhYl RecirculationCarouselCard__image___ovCRn\" role=\"button\" tabindex=\"0\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; margin:0px0px20px;\">\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\"><picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_240,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_480,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_210,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_420,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_200,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_400,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of woman from The Favourite\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4%3A3\/w_200%2Cc_limit\/181126_r33292.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/the-current-cinema\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">The Current CinemaGlamour, Wit, and Cunning in \u201cThe Favourite\u201d<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Anthony Lane\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Anthony Lane<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/learning-to-love-robots\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">On and Off the AvenueLearning to Love Robots<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Patricia Marx\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/patricia-marx\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Patricia Marx<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_240,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_480,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_210,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_420,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_200,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_400,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of woman from The Favourite\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4%3A3\/w_200%2Cc_limit\/181126_r33292.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/the-current-cinema\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">The Current CinemaGlamour, Wit, and Cunning in \u201cThe Favourite\u201d<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Anthony Lane\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Anthony Lane<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/learning-to-love-robots\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">On and Off the AvenueLearning to Love Robots<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Patricia Marx\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/patricia-marx\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Patricia Marx<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_240,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_480,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_210,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_420,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_200,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_400,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of woman from The Favourite\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4%3A3\/w_200%2Cc_limit\/181126_r33292.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/the-current-cinema\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">The Current CinemaGlamour, Wit, and Cunning in \u201cThe Favourite\u201d<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Anthony Lane\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Anthony Lane<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"RecirculationCarouselCard__container___1tDkL\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; flex:00200px; height:290px; margin-right:15px;\">\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/learning-to-love-robots\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">On and Off the AvenueLearning to Love Robots<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Patricia Marx\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/patricia-marx\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Patricia Marx<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_240,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_480,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_210,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_420,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_200,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_400,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of woman from The Favourite\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4%3A3\/w_200%2Cc_limit\/181126_r33292.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/the-current-cinema\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">The Current CinemaGlamour, Wit, and Cunning in \u201cThe Favourite\u201d<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Anthony Lane\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Anthony Lane<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"Image__image___1PhYl RecirculationCarouselCard__image___ovCRn\" role=\"button\" tabindex=\"0\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; margin:0px0px20px;\">\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_240,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_480,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_210,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_420,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_200,c_limit\/181126_r33292.jpg, https:\/\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4:3\/w_400,c_limit\/181126_r33292.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of woman from The Favourite\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbd261c87ee7c5b6991c2\/4%3A3\/w_200%2Cc_limit\/181126_r33292.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/glamour-wit-and-cunning-in-the-favourite\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">The Current CinemaGlamour, Wit, and Cunning in \u201cThe Favourite\u201d<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Anthony Lane\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Anthony Lane<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/shouts-murmurs\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\"><picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<p>\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<p>By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><br \/>\n\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><br \/>\nBy<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_240,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_480,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_210,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_420,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_200,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_400,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Two hands are shown on a back.\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4%3A3\/w_200%2Cc_limit\/181126_r33283web.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/the-frog-king\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Fiction\u201cThe Frog King\u201d<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Garth Greenwell\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/garth-greenwell\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Garth Greenwell<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_240,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_480,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_210,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_420,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_200,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_400,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration by Jorge Colombo\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4%3A3\/w_200%2Cc_limit\/181126_r33261.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/strong-cocktails-and-reflections-at-windmill\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Bar TabStrong Cocktails and Reflections at Windmill<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Elizabeth Barber\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/elizabeth-barber\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Elizabeth Barber<\/a><\/p>\n<\/div>\n<p>\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/bar-tab\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Bar TabStrong Cocktails and Reflections at Windmill<\/a><br \/>\nBy<span> <\/span><a class=\"Link__link___3dWao\" title=\"Elizabeth Barber\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/elizabeth-barber\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Elizabeth Barber<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"Image__image___1PhYl RecirculationCarouselCard__image___ovCRn\" role=\"button\" tabindex=\"0\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; margin:0px0px20px;\">\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\"><picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<p>\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<p>By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><br \/>\n\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><br \/>\nBy<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_240,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_480,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_210,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_420,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_200,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_400,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Two hands are shown on a back.\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4%3A3\/w_200%2Cc_limit\/181126_r33283web.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/the-frog-king\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Fiction\u201cThe Frog King\u201d<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Garth Greenwell\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/garth-greenwell\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Garth Greenwell<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_240,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_480,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_210,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_420,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_200,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_400,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration by Jorge Colombo\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4%3A3\/w_200%2Cc_limit\/181126_r33261.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/strong-cocktails-and-reflections-at-windmill\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Bar TabStrong Cocktails and Reflections at Windmill<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Elizabeth Barber\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/elizabeth-barber\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Elizabeth Barber<\/a><\/p>\n<\/div>\n<p>\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/bar-tab\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Bar TabStrong Cocktails and Reflections at Windmill<\/a><br \/>\nBy<span> <\/span><a class=\"Link__link___3dWao\" title=\"Elizabeth Barber\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/elizabeth-barber\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Elizabeth Barber<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"Image__image___1PhYl RecirculationCarouselCard__image___ovCRn\" role=\"button\" tabindex=\"0\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; margin:0px0px20px;\">\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\"><picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_240,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_480,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_210,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_420,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_200,c_limit\/181126_r33294illuwebtout.jpg, https:\/\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4:3\/w_400,c_limit\/181126_r33294illuwebtout.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedfd4e6412916d4f60d8b5\/4%3A3\/w_200%2Cc_limit\/181126_r33294illuwebtout.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/backstory\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_240,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_480,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_210,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_420,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_200,c_limit\/181126_r33279.jpg, https:\/\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4:3\/w_400,c_limit\/181126_r33279.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration of man giving woman gift\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beb65c11eb124347c7448ae\/4%3A3\/w_200%2Cc_limit\/181126_r33279.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<\/div>\n<p>\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/rosamund-pike-dramatizes-marie-colvins-life-story\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">BackstoryRosamund Pike Dramatizes Marie Colvin\u2019s Life Story<\/a><\/p>\n<p>By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Paige Williams\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/paige-williams\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Paige Williams<\/a><br \/>\n\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/explaining-us-holidays-to-extraterrestrials\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Shouts &amp; MurmursExplaining U.S. Holidays to Extraterrestrials<\/a><br \/>\nBy<span> <\/span><a class=\"Link__link___3dWao\" title=\"Alexis Wilkinson\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/alexis-wilkinson\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Alexis Wilkinson<\/a><\/p>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_240,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_480,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_210,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_420,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_200,c_limit\/181126_r33283web.jpg, https:\/\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4:3\/w_400,c_limit\/181126_r33283web.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Two hands are shown on a back.\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5bedbf1113d77f2ce471a826\/4%3A3\/w_200%2Cc_limit\/181126_r33283web.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/the-frog-king\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Fiction\u201cThe Frog King\u201d<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Garth Greenwell\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/garth-greenwell\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Garth Greenwell<\/a><\/p>\n<\/div>\n<picture class=\"component-responsive-image\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 1280px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_240,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_480,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source media=\"(min-width: 768px)\" srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_210,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_420,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_200,c_limit\/181126_r33261.jpg, https:\/\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4:3\/w_400,c_limit\/181126_r33261.jpg 2x\" style=\"box-sizing: inherit;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"Illustration by Jorge Colombo\" src=\"https:\/\/i0.wp.com\/media.newyorker.com\/photos\/5beca83a1eb124347c744a2e\/4%3A3\/w_200%2Cc_limit\/181126_r33261.jpg?w=625&#038;ssl=1\" title=\"\" style=\"box-sizing: inherit; border-style: none; display: block; max-width: 100%;\"><\/picture>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/strong-cocktails-and-reflections-at-windmill\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Bar TabStrong Cocktails and Reflections at Windmill<\/a><\/p>\n<div class=\"Byline__articleHeader___13Q7D\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision;\">\n<p class=\"Byline__by___37lv8\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; display:inline-block; margin-bottom:0px; margin-top:0px; margin-right:12px;\">By<span> <\/span><a class=\"Link__link___3dWao\" title=\"Elizabeth Barber\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/elizabeth-barber\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Elizabeth Barber<\/a><\/p>\n<\/div>\n<p>\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/bar-tab\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Bar TabStrong Cocktails and Reflections at Windmill<\/a><br \/>\nBy<span> <\/span><a class=\"Link__link___3dWao\" title=\"Elizabeth Barber\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/elizabeth-barber\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Elizabeth Barber<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"Image__image___1PhYl RecirculationCarouselCard__image___ovCRn\" role=\"button\" tabindex=\"0\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; margin:0px0px20px;\">\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<p>\ufffc<\/p>\n<p><a class=\"Link__link___3dWao recircCarouselUnit\" href=\"https:\/\/www.newyorker.com\/magazine\/bar-tab\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Bar TabStrong Cocktails and Reflections at Windmill<\/a><br \/>\nBy<span> <\/span><a class=\"Link__link___3dWao\" title=\"Elizabeth Barber\" rel=\"author\" href=\"https:\/\/www.newyorker.com\/contributors\/elizabeth-barber\" style=\"box-sizing: inherit; background-color: transparent; -webkit-font-smoothing: antialiased; text-rendering: geometricprecision; color: inherit; text-decoration: none;\">Elizabeth Barber<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"ArticleContributors__contributorWrapper___1CrIJ\" style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; align-items:center; display:flex; flex-wrap:nowrap; max-width:400px;\">\n<\/div>\n<p style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:rgb(0,0,0); font-family:\" adobecaslongeorgiatimesnewromantimesserif=\"adobecaslongeorgiatimesnewromantimesserif\" _20px=\"font-size:_20px\" normal=\"white-space:normal\" _400=\"font-weight:_400\" _2text-indent0px=\"orphans:_2text-indent0px\" none=\"text-transform:none\" _2=\"widows:_2\" _0px=\"_-webkit-text-stroke-width:_0px\" initial=\"text-decoration-color:initial\" left=\"text-align:left\">Exxon spent millions of dollars researching the problem. It outfitted an oil tanker, the Esso Atlantic, with CO<sub style=\"box-sizing: inherit; font-size: 11px; line-height: 2.73; position: relative; vertical-align: baseline; bottom: -0.25em; font-family: \" adobe=\"adobe\" caslon=\"caslon\" georgia=\"georgia\" times=\"times\" new=\"new\" roman=\"roman\" serif=\"serif\">2<\/sub><span> <\/span>detectors to measure how fast the oceans could absorb excess carbon, and hired mathematicians to build sophisticated climate models. By 1982, they had concluded that even the company\u2019s earlier estimates were probably too low. In a private corporate primer, they wrote that heading off global warming and \u201cpotentially catastrophic events\u201d would \u201crequire major reductions in fossil fuel combustion.\u201d<\/p>\n<p style=\"box-sizing:inherit; -webkit-font-smoothing:antialiased; text-rendering:geometricprecision; color:rgb(0,0,0); font-family:\" adobecaslongeorgiatimesnewromantimesserif=\"adobecaslongeorgiatimesnewromantimesserif\" _20px=\"font-size:_20px\" normal=\"white-space:normal\" _400=\"font-weight:_400\" _2text-indent0px=\"orphans:_2text-indent0px\" none=\"text-transform:none\" _2=\"widows:_2\" _0px=\"_-webkit-text-stroke-width:_0px\" initial=\"text-decoration-color:initial\" left=\"text-align:left\">An investigation by the L.A.<span> <\/span><i class=\"\" style=\"box-sizing: inherit;\">Times<\/i><span> <\/span>revealed that Exxon executives took these warnings seriously. Ken Croasdale, a senior researcher for the company\u2019s Canadian subsidiary, led a team that investigated the positive and negative effects of warming on Exxon\u2019s Arctic operations. In 1991, he found that greenhouse gases were rising due to the burning of fossil fuels. \u201cNobody disputes this fact,\u201d he said. The following year, he wrote that \u201cglobal warming can only help lower exploration and development costs\u201d in the Beaufort Sea. Drilling season in the Arctic, he correctly predicted, would increase from two months to as many as five months. At the same time, he said, the rise in the sea level could threaten onshore infrastructure and create bigger waves that would damage offshore drilling structures. Thawing permafrost could make the earth buckle and slide under buildings and pipelines. As a result of these findings, Exxon and other major oil companies began laying plans to move into the Arctic, and started to build their new drilling platforms with higher decks, to compensate for the anticipated rises in sea level.<\/p>\n<\/blockquote>\n<p><a href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/how-extreme-weather-is-shrinking-the-planet\">https:\/\/www.newyorker.com\/magazine\/2018\/11\/26\/how-extreme-weather-is-shrinking-the-planet<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A As journalists at InsideClimate News and the Los Angeles Timeshave revealed since 2015, Exxon, the world\u2019s largest oil company, understood that its product was contributing to climate change a decade before Hansen testified. In July, 1977, James F. Black, one of Exxon\u2019s senior scientists, addressed many of the company\u2019s top leaders in New York, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":["post-4302","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p3pfIY-17o","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.novonon.com\/blog\/wp-json\/wp\/v2\/posts\/4302","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.novonon.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.novonon.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.novonon.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.novonon.com\/blog\/wp-json\/wp\/v2\/comments?post=4302"}],"version-history":[{"count":0,"href":"https:\/\/www.novonon.com\/blog\/wp-json\/wp\/v2\/posts\/4302\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.novonon.com\/blog\/wp-json\/wp\/v2\/media?parent=4302"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.novonon.com\/blog\/wp-json\/wp\/v2\/categories?post=4302"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.novonon.com\/blog\/wp-json\/wp\/v2\/tags?post=4302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}